On “Third”, the latest album from Trans Artist Cait Bennan

So I have been listening to “Third”, the latest album — not quite out yet, but like seven days away — from the very talented Cait Brennan.

Many of you will know that I know Cait. She is a trans gal who has roughly the same sets of memories I do about many things, only she was smart and authentic long before I was.

She’s a hell of an artist. Especially if you like Rock music. Being a friend, I was fortunate enough to get a sneak peek of the Album. Not in return for anything. But I love it, and I think you will, too.

Third is unabashedly a rock album. All 13 tracks are solid, true roots, none of this damn frumpery, Rock and Roll. The sort that Tom Cruise dances to in his underwear, but better.

Which is refreshing. Where Namoli is more folky and has a more subtle craft; or where Laura Jane and Against me are harsh edged and shade towards the punk end; Cait is straight down the middle Rock of the sort that we rarely hear except in oldies moments.

With songs like At The End of the World, she demonstrates a strong skill set with the needed power ballad.

On A Hard Man To Love she gets pop influenced alt-rockfish, with some hints of fave Alternative babes.

Catiebots don’t Cry pulls out the blues and has Shades of prime Chrissy Hynde in it, a great syncopation and brushed beat lifting her vocals into a rare spot that says this is gonna be on someone’s repeat list for the guitar cries alone.

The stripped down opening to LA/Amsterdam, “did I leave a note? I must apologize…” drops into a great set piece that is gives a Stones vibe filtered through a non-blondes filter while having that roughness that most music today tries to shy from.

Rather than drown anything out, this lifts everything, and gives you a right there in concert feel without the parts that the older among us miss and the younger among us will never truly know.

But, for my money, the centerpiece of this Album is the solid, moar cowbell, 70’s ode sounding instant classic Stack Overflow, which you can just put on repeat and not regret as every single play reveals a little more of the production values that went into this album.

In second place, the Bonnie Raitt feel to the opening of Perish the Thought gives the album a wonderful balance as it segues into a yearning, soft melodies flash of calm.

The whole album, along with its artist, gives the genre of music by amazing artists who happen to be trans women a good center, a spot that is able to head to pop just as easily as the others, while still staying firmly in its lane.

Which is, again, firmly Rock. The kind you just can’t get on the radio anymore, but that radio would be nowhere and nothing without.

Pick it up when it is available. You will not regret it, and you will thank yourself afterwards.